Posts tagged as 'Punk'
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Wednesday, 26th Sep 2012
We Only Wanted To Be Loved
My first venture into making music videos was courtesy of John Lydon for the debut single of his new venture Public Image Limited, the band he’d formed after the break up of the Sex Pistols. Before the PiL promo, I was Don Letts DJ at the Roxy, dread with a camera. All of a sudden I had a 20-man film crew around me. This was a situation created by the ACTT film union and as I was not a member at that time I was a ‘ghost’ director. Due to my total inexperience I went for the safe option going for a performance piece. It’s only John’s dynamics with the band that gives the video any substance whatsoever. Working with PiL was always tense as they were so volatile. The original line-up of Lydon, Keith Levene, Jah Wobble and Jim Walker fused dub and rock into a warped, paranoid and claustrophobic sound. As long as I had known John, he had always been listening to reggae and avant-garde stuff like Can’s Tago Mago, Curved Air and Tangerine Dream. All these elements came together in the early PiL tunes. I was particularly taken with the King Tubby mix style of their first album, Public Image and its follow-up, the hugely influential Metal Box.
Everyone in PiL was on ‘something’ different (hell we all were!) Some were up, some were down, and others were coming in sideways. The initial optimism they had soon turned dark and out of that chaos came moments of brilliance. Jeannette and I had been an item for a very important part of our lives, but around this time we split up. Girlfriend broke my heart. I’d introduced Jeannette to John, who then got her to manage the band. She’d go on to eventually become a part of PiL (that’s her on the cover of their Flowers of Romance album). When Jeannette got involved with PiL, I was off in a huff. Soon after, Keith Levene and Jah Wobble needed some money, so they ended up making a single for Virgin Records called The Steel Leg vs. The Electric Dread EP. They got me down to the studio to work on some vocals, even though I had never sung in my life. I remember sitting on the stairs with a microphone trying to write some words. Eventually I said, “OK guys, I’ll go home and work out some proper lyrics.” I never heard back from them and the next thing I knew the record was out. They’d used my demo vocals and stuck them with a track they’d worked up. The picture on the cover featured someone with a bag over his head. Now I’d come up with the title “Haile Unlikely” and I was messing around with this idea of “OK, I’m black, but I don’t want to go back to Africa.” I was basically saying, “I’m a black British Dread and I ain’t going nowhere! Now truth be told the record’s crap and looking back I can laugh at the whole thing but what’ll always piss me off is the picture on the sleeve - I mean people thought it was me for Christ sakes!
PiL’s headquarters were in Gunter Grove, Chelsea, where John Lydon lived. It was like the Addams Family house he even had a cat called Satan that he trained to fetch things for him. I once took reggae legend Dr Alimantado round to the flat to see John. After the physical and verbal abuse John was getting on the streets during the Pistols era, Alimantado became one of his heroes, and “Born for a Purpose” his anthem. “If you feel like you have no reason for living, don’t determine my life,” sang Dr Alimantado on the classic track which he penned after a near-fatal “accident”. In 1977, John Lydon, then Rotten, named it one of his top ten tunes of all time. The Clash would also later pay respect with the lyric “like the Doctor who’s born for a purpose” on “Rudie Can’t Fail” from London Calling. Joe Strummer once told me that Dr Alimantado’s “Poison Flour” was a tune that Paul Simonon played all the time, citing it as an example of how to sing about things that had an effect on daily lives. It was this reportage quality in the lyrics of 1970s reggae that captured the punks’ imagination (along with the bass lines and the weed!). So “Born for a Purpose” quickly became one of the few records to actually bridge the curious alliance that was punk and reggae during that period in the UK.
When you went round to Gunter Grove it was like a trial by fire. John would psychologically mess with you. If you had a weakness, he would find it. People would pop round John’s for a visit and leave psychological wrecks. It was only those that could stand there and take it that John would let back in. For Leo Williams’ birthday (Basement 5, B.A.D, Dreadzone) John decided to throw a party at Gunter Grove. The two tribes were on the floor with their Red Stripe, sensi and the heaviest dub reggae courtesy of the John Lydon Sound System. I can remember the bemused look on John’s face as he watched Althea and Donna, who were also in attendance, skank the night away. This was a “punky reggae party” before Bob Marley even penned the tune. One night there was a police raid. John freaked, all he knew was someone had entered the flat so he ran down the stairs with a huge sword someone had given him as a present. The police must have wondered what the hell was going on. Their sniffer dog chased Satan the cat, who climbed up onto a speaker in front of John’s teapot where his weed was stashed. The police thought the dog was barking at the cat, and didn’t think any more of it. Satan had saved the day! John was duly taken down the cop shop, bare-footed in his dressing gown and pyjamas and had to walk all the way back home dressed like that. He was seriously pissed off and moved to New York soon after.
Read all posts by Don Letts HERE
Friday, 14th Sep 2012
A new exhibition at London’s Hayward Gallery Project Space explores the graphic design surrounding the punk movement from 1971 – 1984. Curated by Johan Kugelberg and Jon Savage, Someday all the Adults Will Die features several hundred pieces of previously unseen material selected from private collections and archives. Homemade cassettes, fanzines, posters, records and clothing surround the space; created by the likes of Gee Vaucher and Gary Panter alongside numerous anonymous artists.
© PUNK: An Aesthetic edited by Johan Kugelberg and Jon Savage, Rizzoli, 2012
This now distinctive DIY style emerged as an expression of the movement’s youthful rebellion and anti-authoritarian mentality, creating a powerful aesthetic that’s influence is still visible today. Much of the graphic material from this period was created by inspired amateurs, allowing them to tap into a rough-hewn style to create their own handcrafted visual language. Highlights from the show include original press releases and pamphlets for the Sex Pistols and Ramones, as well as early fanzines including London's Outrage, Punk, Sniffin' Glue and Surburban Press.
The exhibition coincides with the publication of Punk: An Aesthetic, a new book featuring essays by William Gibson and Linder Sterling; edited by the show's curators Kugelberg and Savage.
Someday All the Adults Will Die: Punk Graphics 1971 - 1984 opens on 14 September 2012 and runs until 4 November 2012 at the Hayward Gallery Project Space, Southbank Centre, Belvedere Road, London SE1 8XX
Thursday, 23rd Aug 2012
No Don’t Stop the Carnival
London’s first Caribbean Carnival was held in St Pancras Town Hall in January 1959. The idea stemmed from a meeting at the Brixton office of the West Indian Gazette a few months earlier. Claudia Jones, who worked for the paper, wanted to do something to improve the morale of the West Indian Community in Notting Hill. Race Riots had spread from Nottingham to Notting Hill during 1958 when locals waged their racial war on the newly settled West Indian community. Held at the Town Hall, the Carnival went well, with dancing, lots of curried goat, rice n’ peas. It was not until 1965 that it moved to Notting Hill after Rhaune Laslett, a local resident, spoke to the police about holding a carnival there. She wanted to involve all of the community; Irish, Spanish, Caribbeans, Africans and Portuguese to name a few. Notting Hill at that time was a piss-poor area, but it had a real multicultural vibe to it. Laslett ran the Carnival for several years and the attendance grew to about 10,000 people. The event was a great success and blurred the lines between participant and spectator and quickly became a symbol of freedom.
By 1976 Carnival had become a predominantly Caribbean event built on Jones’ racial offensive and Laslett’s cooperative activism. For my parents’ generation the Carnival was a reminder of life back home but for my generation it was statement about duality of our existence which was black and British. Tensions had been building through that year and it came to a head when police tried to arrest someone close to Portobello Road. Several black youths went to help the guy and it escalated into a riot. The police had to grab dustbin lids to protect themselves from the bricks and debris raining down on them. To this day people think that there was a racial theme to the riot in 1976, but it was not a black or white thing. It was a wrong or right thing. Working class people being harassed by the police. Hence the Clash song “White Riot”, with the words “Black man gotta lotta problems/but they don’t mind throwing a brick.” The Clash were saying, “look our black brethren have had enough and they have done something about it.” Ironically it was misunderstood by some as being a right-wing song.
During the Notting Hill riot I was wandering around with my Super-8 camera, torn between getting the shot and throwing a brick. The infamous picture of me that ended up on the front of the ‘Black Market Clash’ album was taken at this time. It looks like I am fronting the cops off, but I am actually crossing the road.
Behind me are 500 brothers all armed with bottles and bricks and the police lines were right in front of me. It was best that I moved out of the way. Joe Strummer and Paul Simonon were also caught up in it. They were throwing bricks. The white youth were right in there alongside the black youth, including myself, all sick to death of the SUS law. The SUS law was a stop-and-search policy based upon Sections 4 and 6 of the Vagrancy Act, 1824, which made it illegal for a suspected person to loiter in a public place. SUS was routinely abused, usually to the detriment of black youth. If I went to the cinema I had to schedule an extra half hour, because I knew that I would probably get pulled up and miss the start of the film. When I saw a police car behind me, I’d pull over before they could pull me over. I’d walk up to the cops and say, “Look, what do you want? You make me really nervous and you’re going to make me crash so let’s get it over with.”
I remember one particular time they pulled me up somewhere off the King’s Road, Chelsea. I got out of the car and jumped up onto the bonnet and I was like, “Yo, what are you guys trying to do, crucify me?” and all of a sudden passers-by were watching me. From that point on, every time I got pulled up on the street I would stand with my legs spread-eagled and my arms in the air, sort of American stylee. The cops would be shocked and say, “Look young man, there is no need for that.” I’d simply reply, “It’s OK officer, I feel a lot more comfortable like this, and you can’t say I have done anything wrong.” The minute you did that on the street everybody was looking. I flipped the script on them. I even remember being pulled up in various places and I’d start taking my clothes off and walking around in my underpants. It was my way of taking control of the situation. However if you were pulled up in the middle of the night with no witnesses, you were screwed.
Nowadays the Notting Hill Carnival has grown to be the biggest ‘street’ festival in Europe. Over a million pleasure-seekers every year cause a roadblock in the heart of London, oblivious to the Carnival’s political, social and historical background. In its early days, it was controlled by the first Trinidadian settlers of Ladbroke Grove, but it was not long before all the Islands found a voice at Carnival. It was nearly hi-jacked by the Jamaican sound systems in the seventies and that’s where I came in, listening to sounds with names like ‘Shaka’ and ‘Coxsone Sound’. After an initial sound clash, a balance was struck. Reggae and Calypso provided a running commentary on current events. Journalism set to music. And if you can resist the smell of the various foods on sale then you are a slimmer man than I.
Today regular fixtures like Norman Jay’s ‘Good Times Sound-System’ and Gaz’s ‘Rockin Blues’ really capture the evolution of the carnival sound. One of my favourite spots used to be on the junction of All Saints Road and Westbourne Park Road; sound systems piled stories high on every corner, just as the steel band pulls in. Calypso, Soca, Soul, Ragga, Reggae and Hip-Hop. The tree-lined harmony of west London gets slapped upside the head. Ladbroke Grove—Ladbroke groove—dub town. By my logic 2009 was the 50th anniversary of Carnival and that same year I was moved to make a documentary celebrating that fact as it continues to be a kind of a cultural barometer for the times, charting and reflecting the journey of multi-cultural Britain.
Read all posts by Don Letts HERE